P420 GORAN TRBULJAK. Via Azzo Gardino 9, Bologna (it) Tel

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2 Zagreb based artist Goran Trbuljak has been active since the late 1960s, in the context of conceptual art and the so-called New Art Practice. While searching from the very beginning for alternative means of production and representation of the artwork, Trbuljak has redefined the status of artistic context, asking radical questions about the autonomy of the system of museums and galleries and about the mechanism by which something is accepted as art. He tested the accidental as the key moment of creating work mechanism, organizing exhibitions in streets and hallways. For the artist a simple gesture could function as a critique of the artistic and social system. In his spontaneous action in 1969, Trbuljak, "from time to time displays his finger, without the management's knowledge" through a hole in the door of the Modern Gallery in Zagreb. The New Art Practice in the 1970s were mostly going on outside exhibition spaces, in galleries that were part of the student cultural centers, but occasionally also in certain state galleries which presented in their programs the local and international avant-garde scene, like the Gallery of Contemporary Art in Zagreb. In 1971, in the gallery of the Student Cultural Centre in Zagreb, Trbuljak exposed only a poster on which it was written, I do not want to show anything new and original. In the same spirit, he opted for the most democratic way of finding out whether or not he was an artist, organizing a Referendum in 1972 and asking passersby to decide. In the questionnaires he distributed in the Western shopping malls and art institutions a few years later the artist asked whether they would expose his works. In this series of works, entitled Anonymous artist / Goran Trbuljak ( ), he confirms his interest in the issues of authorship and anonymity, confronting the institutional critique, and pushing further his research into how the system of museums and galleries functions, accentuating the market, economic and political context. Still, there are typical traces of humor and self-irony in Trbuljak's oeuvre. The Promises of the Past (exhibition catalogue), Centre Pompidou, Paris, 2010

3 STREET ACTIONS Trbuljak s anonymous street actions show the relation of an artwork inside and outside art institutions such as galleries and museums, stressing the question of his own position as a young, unknown artist within the art system. Using simple statements and questions, public spaces in Zagreb, and the participation of the public, Goran Trbuljak as well experimented with the relationship between artist, the audience, and the conditions in which an artwork is encountered. Hole in the door, 1969, action pushing a finger through a hole in the door of the Modern Gallery in Zagreb From time to time I stuck my finger through a hole in the door of the Modern Art Gallery without the management s knowledge

4 Anonymous Street Action, 1970 Photographed holes in the asphalt in different places around town. In the immediate vicinity of the photographed holes, I stuck xerox copies of photographs. The unsigned xerox copies were displayed in the street for ten days in April, 1970

5 Anonymous Street Action, 1970 Several picture frames of marine format are thrown into the sea near Rijeka and Dubrovnik

6 Anonymous Street Action, 1970, gelatin silver prints, series of six, cm.39x39 each (framed)

7 Anonymous Street Action, 1970 (detail)

8 A bang on this pipe produces a sound different from the sounds of the neighboring pipes

9 At several places in the city, 1971, three black and white photographs, cm.13x18 At several places in the city, I left the wooden beams, which are usually due to work on the roof of the building, warning citizens to be aware

10 Untitled (Trbuljak Artist) II, 1973, series of six black and white photographs, cm.30x45 each Untitled (Trbuljak Artist) II consists of six black and white photographs of the long corridors of the Châtelet subway station in Paris and their moving walkways. Goran Trbuljak attached two small glue strips with the words ARTIST and TRBULJAK to the handrails. The photographs document a number of trips on walkways at the very moment when one or both of the words just happened to appear next to him.

11 Sunday Painting, 1974, three silver prints, cm.30x40 each (framed) Sunday Painting is a photographic documentation of the artist's street actions. On several Sundays, Goran Trbuljak went to an art supplies store to paint on the window in front of the empty canvas and an easel behind the glass. Each Monday, the paint was removed by the staff of the store.

12 Sunday Painting, , four color photographs, cm.50x60 each (framed)

13 Sunday Painting, 1974, detail

14 Sunday Painting, 1974, painted slides, light box, cm.27x38

15 Goran Trbuljak took photographs of a theater announcement's banner in a street in Zagreb, and painted over letters until his own family name appeared.

16 WORKS EXHIBITIONS Starting from Duchamp s idea that work becomes a work of art once it is incorporated in the institution of art, Trbuljak takes a step further, stressing the fact that gallery system is superior to the works shown within it. In order to express his attitude, he turns the gallery into a constitutive part of his work the resonance of which will largely depend on the importance of the gallery. Within this segment Trbuljak would also continue to pursue his examination of art and the artist s potential anonymity, claiming a sort of transcendent ideal of an art without artists, without criticism, without audience. It is this utopianist belief in art, liberated from the constraints of its institutional conditioning that Trbuljak was addressing. In this sense Trbuljak s work is a multidirectional web of translations, in which he appropriates and incorporates elements of the critical, curatorial, and institutional art apparatuses with creative input and freedom usually ascribed to artistic endeavors.

17 I do not wish to show anything new and original, 1971 Type-set print on paper, cm.59 x 41 Poster exhibited as the only element in the exhibition, Gallery of Student Center, Zagreb

18 Anonymous Conceptual Artist, 1972, letterpress, paper, cm.10x20 The artist has become the idea of his work, or in other words, the artist has become his own work. The logical process demands the removal of this last work of the artist, that is, of the artist himself. Goran Trbuljak, November 1971

19 Under the slogan An artist is anyone who is given the opportunity to be one, the first referendum was completed on , upon which ordinary citizens had to decide whether someone is an artist or not. By their own choice, the citizens had to declare a person whose work or name they had not heard of before, to be an artist or not. Since the first ballots had the printed name of a person who attended art schools and passed out the ballots himself, it should emphasize, that it is not at all important, insofar as the action itself is concerned, whether or not the person who is being voted for or against, engages in any kind of creative activity, or even if the person really exists. Out of 500 ballots that were given out, there were 259 positive votes and 204 negative, so the person voted as an artist was that person, whose work and name had not been known to the voters before.


21 Referendum, , ballot paper, letterpress printing on paper, cm.44.2 x 30 (framed), text paper, print on photo paper, cm x 30 (framed), 11 black and white silver prints cm.44.2 x 42.3 each (framed), ed. 3/3 + 2 AP

22 October 27, 1972 I entered the Daniel Templon Gallery and not identifying myself (surname - name - profession - documentation), asked this question seeking answer of Yes or No or Maybe: Would you like to exhibit this work in your gallery? 1) Yes 2) No 3) Maybe

23 The fact that somebody is given the opportunity to make an exhibition is more important than what is shown at that exhibition, 1973, silkscreen print, paper, cm.70x50

24 Retrospective, 1981, silkscreen, paper, cm.60x85 I do not wish to show anything new and original (1), the fact that someone has a chance to make an exhibition is more important than what will be exhibited at the exhibition (2); I am demonstrating the continuity of my work (3).

25 ANALYSIS OF THE MEDIUM In respect to Goran Trbuljak s work, humor and self-irony played an important role. Already from the beginning he artist created numerous interventions using various materials and media. With his witty analysis of the conceptual taboo the visual and the material Trbuljak raises the pertinent issues via the mediums of painting, photography and film, which in turn blatantly and ironically reveals its endurance. This kind of attitude implies a certain moral attitude, a wish to remain independent from the demands of the art system by taking a distance from it and laying bare its principles and mechanisms.

26 Try to take a picture of the sun 4 times by turning the camera at the same time, 1969 C-print, cm.30 x 40 (framed)

27 Series of films on 35mm of natural phenomena (wind), 1971, 35mm film, cm.170x22x3 (framed) A film negative becomes the carrier of the artwork and replaces the classical painted image. One distinctive presentation of the material world is replaced by a second, the artist thought at the time, therefore recording only the things that would be invisible on the photograph (wind for example).

28 Untitled (Self Portrait) I, 1972, series of eleven black and white photographs, cm.40x30 each (framed) These copies are not documenting the artist s work or the artist s body, but the artist himself. Goran Trbuljak Goran Trbuljak realized this self-portrait in the early 19070s by xeroxing his head - a technique then newly developed in Zagreb. Distancing himself from the classical portrait setting and from our everyday perception of human appearance, Trbuljak systematically explores his face. For conservation issues he then copied the images on negative film in order to obtain silver prints.

29 Four detailed photographs

30 !!! P420 Untitled (Konzum), 1975,four silver prints, paint, cm.32x44 each (framed)

31 Louvre, 1975, series of six black and white photographs, cm.61x50 each (framed) In the famous Paris subway station Louvre, Goran Trbuljak used the illuminated sign as source of light for his Photograms, by holding a sheet of photosensitive paper for a few seconds in front of each letter. Areas of the paper that have received no light appear white, and those exposed to the light, black. The six developed photographs reveal a negative image of the original word on a scale of 1:1.

32 Photographs (Self Portrait), 1975, silver prints, framed by two or three, cm.12x9.5 each (framed)

33 Photographs (Self Portrait), 1975

34 Untitled (Rez / Cut), 1976, black and white video, 31 sec, loop, ed. 3/7 + AP Link to video (password: Trbuljak) Video captures a short moment before destruction of the film tape. As the film tape rotates on the recorder we are observing artist s hand holding scissors, slowly approaching the tape. The cut is obvious when the concrete image disappears and all we are left with is the fuzzy screen.

35 Untitled, invitation card, catalogue, photo enlargement on paper (Calder), 1977, various size Three works: invitation. catalogue and exhibition, which show possible relations between the name of the artist and the name of the gallery. Anonymous artist / anonymous gallery* Anonymous artist / well-known gallery Well-known artist / anonymous gallery The invitation card illustrates the first case, the catalogue, the second and the exhibition the third On the invitation card I changed the name of the gallery from Cavallino to Canaletto.

36 Untitled, invitation card, catalogue, b/w photograph on paper (Fontana), 1977, various size

37 ARTIST IN CRISIS The period, proclaimed by the artist in 1981 to be the period of crisis, contained radical criticism of everything Trbuljak dealt with the seeds of what he was to deal later. He nevertheless chapped his crisis, the act of giving up, as a work: drawings, photos, prints, objects and especially paintings that he began exhibiting after As much as silence/crisis may seem unproductive, it also contains desire to change, to re-examine the already made, and can therefore have a positive and potentially liberating capacity. The artist in crisis did not abandon art, but continued to work with elements that has caused his crisis, turning problems into content. Branka Stipančić

38 Artiste en Crise, ,series of four black and white photographs, cm.55 x 67.5 each (framed)

39 Untitled (Announcement of the 30 th Anniversary of Unhappiness in the Art), 2000 Announcement card, letterpress printing, cm.24.7 x 98 (framed) Text on the card: Goran Trbuljak announces the 30 th anniversary of unhapiness in the art,

40 To Myself, 2005, digital print on archival paper, cm.32x68 cm (framed), ed. 1/3 + AP In this work the artist presents himself with a guide for appropriate behavior raising questions about who is really being addressed here. (Text on the next page)

41 To Myself Book One 1. Always remember how you began and what was important to you at that time 2. Long ago you had accepted the fact that geniuses and saints exist, and that you are not one of them 3. You know that you are not and can no more be first, second, third, etc. At anything 4. You know that you are not much of an artist and be thankful to anyone who reminds you that 5. You do not know what are and related matters are, but left it remain interesting for you what others think they are 5. Do not evaluate others, do not be a telltale or a policeman because you had not seen anything and you know nothing 6. Do not be mean and jealous. Wish everyone luck in art or elsewhere Book Two 1. Work only when it makes you happy, not when you have something to say 2. Do not talk about, do not explain your work because what makes you happy does not have to do the same for others 3. Never offer your work to museums, galleries, collections, exhibitions etc. 4. If others ask you to show them your work, show, but do not get conceited because of that, instead, contemplate how to be and not be or how to not be and be 5. Call your work AHA, OYE, ALZO or anyhow, but do not call it any more work, art, kunst etc. Do not think any more about AHA, do not draw conclusions about OYE, have no conviction about ALZO 6. For your AHA never more use other people s figures or works, women, children, animals: in fact do not use anyone from the first, the second or the third world Book Three 1. Avoid events and gatherings that consist of more than three persons thinking or working similarly 2. Do not have journalists, curators, students, critics, artists from aboard, actors and similar people at your house 3. Cut your hair, beard, mustache, fingernails like everybody else 4. Do not wear clothes that you do not see other people in Tram wearing 6. Do not yell at children or adults, do not be boring in general 7. Do not be falsely modest, do not be fragile. Do not complain, and do not victimize yourself in anything Book Four 1. Make sure your remember, she who sells lettuce knows more about you than you about lettuce. Book Five 1. You and I stand here 2. There is no me.

42 Untitled, The total number of people who have attended the openings of all my individual exhibitions (those who have attended more than one opening have been counted once), 1970 until now 2004, hand counter, pedestal

43 Untitled, , series of eight silk prints mounted on canvas The work on canvas OLD DEPRESSIVE ANONYMOUS IS LOOKING FOR A PERMANENT DISPLAY PLACE IN SOME NICE NEW ART MUSEUM SPACE consists of eight pieces with seven variations of words, that are still kept in the same position as the primary canvas.

44 Old And Bald I Search For A Gallery, 2008 Print, cm.103.5x74, cm.71x51.5 each, detail

45 Untitled, 2010, ink jet print, set of four, cm.21x26 each (framed) Subtracting one well known from a different, unknown name and vice versa, the objective being to obtain ideal proportions. Adding two names, one well known and one unknown, the objective being to obtain ideal proportions.

46 Un artiste sans galerie est comme une patate sans la friteuse et un galeriste sans galerie est comme la friteuse sans huile (galerie Karsten Greve), 2015 graphite pencil and indian ink on paper, cm.50x65 In Paris the artists look for the best views to depict; I have depicted all the galleries in the city.

47 RETHINKING PAINTING Already in the late 1960s Goran Trubljak stated that he had no relationship with painting as a medium of expression, as he thought it lost its potential and momentum the moment it became a social commodity and began to lose its critical edge. That resulted in the fact that Trbuljak created a body of works (in different time periods) that mock at specific conventional assumptions about painting, art materials and tools. Aside that, the artist was also interested in the transitory nature that he observes in the painting. The painting should not be an aesthetically unique object, its function is to raise the issue of the art and the artist is the one mediating between and manipulating with the signs.

48 front back Dropwise from behind. 10 drops of color for stamps dripping through a hole on the back, 1982 acrylic on canvas, wood, glass, cm.38x32x5

49 Painted from side, 1988, acrilico su tavola/acrylic on board, cm.45x34 Painters usually paint directly on canvas. I first put the canvas in a frame with glass over it and then, over time, I decide to paint. In this piece I have painted through holes around the frame.

50 Hand-held painting, 1992, acrylic on canvas and wooden palette, cm.49x30,5 Painters usually hold the palette in one hand and paint on the canvas. I keep the palette and the canvas together in the same hand and paint on it.

51 Ink through palette hole / Tuš kroz rupu palette, 1993 ink, acrylic, canvas, palette, cm.41x27 The painter usually puts paint on a palette then, from the palette, puts paint on canvas. I pour paint through the palette s hole on the back of canvas.

52 Untitled (Acrylic paint through holes of the frame with an attempt to make a painting in Mondrian Style using Pollock technique.), 1996, acrylic on canvas, wood, glass, cm.55x45x6

53 front back 1#(4)a, 1986, paint on canvas, cm.37x3x3

54 Tambourine, 1974, test of the tensness of canvas, canvas, bell(s) Canvas assumed many roles, among them that of a tambourine. The pictorial means were joined by elements of music. Starting from the idea that the painter checks the quality of a stretched canvas slapping it with his hand, in 1974, Trbuljak mounted bells on an empty canvas, transforming it into a drum that produced sound. Trubljak sought the space in between, where it could be shown that canvas did not necessarily lead to paintings and continued this game in years to come, using jazz brush to apply paint on canvas.. I wanted to find out how I was going to paint with a metal brush on a tambourine I already had; the motives for painting were somewhere else. Excerpt from G.Trbuljak, Branka Stipančic, Zagreb, 1996

55 Jazz brush painting, 1987, oil on canvas, bell, cm.33x27

56 Jazz Brush painting (Left Hand) nr. II, 1990, cm.30x27

57 ! P420 Untitled, 1988, polyester filter (85), polyester filter (85 + ND3) and polyester filter (Full CT Blue) on canvas cm.37x29 each Instead of using traditional paint, the artist used the light as the medium to create a painting, achieving this by using professional film colored filters in basic daylight and night filter colors.

58 FROTTAGES FROM ART MAGAZINES Goran Trbuljak started using the frottage technique in his work in early nineties. Besides referencing to the technique that arised in the time of early historical avant-gardes, Trbuljak uses frottage as a technique that completely reduces modernist signature style of the artist. Inspired by the resulting structures, associations were produced, that the artist reshaped into new pictorial worlds. Above all, in the line on Trbuljak s work, definitely the most important thing within his oeuvre is that the gesture of intervention into art magazine directly requestions the symbolic structures that are given to us through the system of the art institutions, galleries, theory and economy. The Journal of Art 38 and 28, 1991, frottage, diptych, cm.48x61 overall

59 Art in America#10, 1990, frottage, cm.35x30x6

60 MONOCHROMES & MONOGRAMS The attribution of a work to an artist and, conversely, of an artist to a work; the use of monochrome as a way of reducing personal handwriting. The multiple signification of the artist s name are the important elements in these works, which examine issues of authorship, anonymity, originality and especially the status of the artist in a given cultural system. Untitled, / 2001, painting on canvas, series of thirteen, cm.30x24 Each time these works are exhibited, one letter of my name and surname has to be crossed out. At thirty-year intervals, the letters of my name and surname are to be restored one by one in reverse order.

61 P.P. Monochrome, 2011, varnish on metal panel, lead holder with nail, series of twelve, cm.40x30 This work is an allusion to a certain car manufacturer that uses an artist s name as the brand name for its Grant Picasso models, it is a way of flirting with a famous name in art, and it is the earnest wish of a person who has remained young at heart to leave his monogram in the varnish of a car. Each time the market value of this series of monochromes goes up, one by one the letters of the name and surname of Pablo Picasso are inscribed in reverse order by scratching away the paint

62 BOOKS, NOTEBOOKS AND DICTIONARIES The artworks done on paper have one common idea: "an artist is doing an exercise, while waiting for the time when he will be ready for his master work". There are three kinds of artist s exercise. With the first one, artist is only repeating the cover page of a notebook. He copies inside what is on the front, by making holes through the front and other pages, then either dropping a few drops of color in the holes or making gum stamp of some part of the image from the cover and then stamping it inside the notebook. The first types of exercise works were done in a period of 40 years. Second exercise is made by hand, also in the period of 40 years. Drawing vertical, horizontal lines or just doing points, in simple notebooks with printed lines or squares with pen or pencil, hoping one day this would lead to a masterpiece. Third type of notebook exercise is based on idea that you have to have good reason to open any notebook at all to start working. The artist draws or paints through a bigger hole, which he makes on the cover of the notebook. Sometimes he also puts a notebook vertically on the table and opens it s covers up to 10 cm to drip paint on the upper edge of paper. The other variation of the same exercise consists of dripping paint through small holes of the notebook s wire binding. Exercise of an Artist (Horizontal Lines), 1977, notebook, colored pencil, cm.21x15

63 Exercise of an Artist, 1977, notebook, ink, cm.21x15, ca. 100 pages

64 Untitled Book, 1996, mixed media, cm.21,5x6

65 "Dictionary of Art and Artist Monogram Book ("Dictionary of Art and Artist ), , tecnica mista, pittura e 2 stampe ink-jet (scansioni da libro ad alta risoluzione), cm.43x58 (incorniciato)

66 Botanical dictionary ("Ljekovito Bilje ), 2010, mixed media (painting and pencil) and 3 ink-jet prints (scans of the page of a book, cm.43x58 (framed)

67 Botanical dictionary, detail

68 BLACK AND WHITE, WHITE AND COLOUR MONOGRAPHS When an artist arrives at mature years he likes to see his works in some relatively thick art book. Then his ideal book is one in which there are no other artists, where he is alone on each and every page in both image and text. Such a book is called a monograph. I myself came to the idea that I should make a monograph. But why just one? When I m at it, why can t I just make a hundred of them? Artists even younger than me, fresh out of the Academy, have got several. Perhaps in a wish to compensate for the time lost and wasted, I decided to make more than a hundred of them myself, maybe two or three hundred... For a good number of monographs I needed more paper so I started using all the paper available. I collected up empty notebooks, sheets of clean white paper, empty grocery bags, envelopes and pieces of cardboard from various boxes, which I used as covers of these books. Every empty piece of paper was welcome. I did not even mind if it was slightly greasy with doughnut or crumpled. 150 handmade monographs, , handmade books, variable dimensions I m doing a thousand handmade monographs, and waiting to have the thousand plus one printed version.

69 150 handmade monographs, , handmade books, variable dimensions, detail

70 P420 GORAN TRBULJAK Nasce nel 1948 a Varaždin, Croazia. Vive e lavora a Zagabria, Croazia. L artista di Zagabria Goran Trbuljak è attivo dalla fine degli anni Sessanta, nel contesto dell arte concettuale e della cosseted New Art Practice. Mentre ricerca fin dall inizio mezzi alternativi di produzione e rappresentazione dell opera, Trbuljak ha ridefinito lo stato del contesto artistico, ponendosi radicali domande riguardanti l autonomia del sistema mussale e delle gallerie e sul meccanismo con il quale si accetta qualcosa come arte. Ha provato l incidente come momento chiave per creare meccanismi di lavoro, organizzando mostre in strada e negli spazi pubblici. Per l artista un gesto semplice diventa una critica al sistema artistico e sociale. Tuttavia, esistono tipiche tracce di umorismo e autoironia nell opera di Trbuljak. Born in 1948 in Varaždin, Croatia. Lives and works in Zagreb, Croatia. Zagreb-based artist Goran Trbuljak has been active since the late 1960s, in the context of conceptual art and the so-called New Art Practice. While searching from the very beginning for alternative means of production and representation of the artwork, Trbuljak has redefined the status of artistic context, asking radical questions about the autonomy of the system of museums and galleries and about the mechanism by which something is accepted as art. He tested the accidental as the key moment of creating work mechanism, organizing exhibitions in streets and hallways. For the artist a simple gesture could function as a critique of the artistic and social system. Still, there are typical traces of humor and self-irony in Trbuljak s oeuvre. SELEZIONE MOSTRE PERSONALI / SELECTED SOLO EXHIBITIONS UPCOMING 2019 Goran Trbuljak,Villa delle Rose, Bologna, IT 2018 Goran Trbuljak: Before and After Retrospective, CAC, Geneve, CH 2016 Un artiste sans galerie est comme une patate sans la friteuse, Galerija dr Vinko Perčić, Subotica, RS Umjetnik bez galerije isto je što i krumipir bez friteze, a galerist bez galerije je kao friteza bez ulja, Museo-Muzej Lapidarium, Galerija Rigo, Novigrad, HR 2015 Što je Torbuljak, a što su torbuljaci, Galerija Vladimir Bužančić, Zagreb, HR Zatvoreno otvoreno, Galerija 3.14, Zagreb, HR Sketches for Sculpture (Stone, Marble, Iron), , Galerija SPOT, Zagreb, HR 2014 GT: monogram, monograph, monochrome, monologue, P420, Bologna, IT Goran Trbuljak, Torbuljaci, Art Gallery Kula, Split, HR 2013 Monografije, Radnička galerija, Zagreb, HR

71 Goran Trbuljak - Personal And Other Obstacle, Galerija Gregor Podnar, Ljubljana, SI 2012 Press Release, Galerija AŽ, Zagreb, HR 2011 Personal and others obstacles, Greta Gallery, Zagreb, HR Monochrome & Mongram, Galerija Gregor Podnar, Berlin, DE 2008 Galerija Rigo, Novigrad, HR Anonymous Post Modern Artist, Galerija Gregor Podnar, Berlin, DE 2004 Goran Trbuljak: , P74 Gallery, Ljubljana, SI Goran Trbuljak, Piturski i ostali radovi, Galerija Umjetnina Split, Split, HR 2002 Slavonski Brod, HR 2001 Work in progress, Gallery O.K., Rijeka, HR 1996 Museum of Contemporary Art, Zagreb, HR 1995 Gallery Dante, Umag, HR Galerija Rigo, Novigrad, HR 1994 Staklena paleta, Gallery Dante, Umag, HR Art workshop Lazareti, Dubrovnik, HR Ograničeni radovi, Galerija Hajdarović, Slavonska Požega, HR 1993 Cultural-informational centre, Zagreb, HR 1989 Galerija Sesame, Dubrovnik, HR 1986 Retrospective, some works, Galerija proširjenih medija, Zagreb, HR Exhibition of ready made, August Šeon Library, Zagreb, HR 1981 Retrospektiva/Retrospective, Salon Muzeja savremene umetnosti/museum of Contemporary Art, Belgrade, RS

72 1979 Ovom izložbom održavam kontinuitet u svom radu/with this exhibition I maintain continuity in my work, Studio of Gallery of Contemporary Art, Zagreb, HR Living and working space, Hotel Dubrovnik, room 222, Zagreb, HR Artist in crisis, Gallery of Student Center, u predvorju kina SC, Galerija proširjenih medija, Zagreb, HR Retrospective, Salon of Museum of Contemporary Art, Belgrade, RS 1977 Gallery of Student Cultural Center, Belgrade, RS Galleria del Cavallino, Venezia, IT Galleria Civica, Modena, IT Il nome ben scritto fa l artista, Studio 167e, Torino, IT Galerija Nova, Zagreb, HR 1975 Galerija Remont, Warsaw, PL Galerie 28, Paris, FR Galerija Znak, Bialystok, PL Atelier Milch Strasse, Freiburg, DE 1973 The fact that somebody is given the opportunity to make an exhibition is more important than what is shown at that exhibition, Gallery of Student Centre, Zagreb, HR Likovni salon Tribine mladih, Novi Sad, HR 1972 Artiste Anonyme, Galerie des Locataires, Paris, FR Gallery of Student Centre, Zagreb, HR 1971 Likovni salon Tribine mladih, Novi Sad, HR I don t want to show anything new and original, Gallery of Student Centre, Zagreb, HR SELEZIONE MOSTRE COLLETTIVE / SELECTED GROUP EXHIBITIONS 2018 Power of Language, Generali Foundation Collection, Museum der Moderne Salzburg, AT Recollection A Journey after 28 Years, Proyectos Monclova, Mexico City, MX Zones of Contacts - Architecture of Graz and Zagreb, Museum of Contemporary Art Zagreb (MSU), Zagreb, HR Hello World. Revisioning a Collection, Hamburger Bahnhof - Museum für Gegenwart, Berlin, DE 2017 Think of this as a Window, a cura di/curated by Sarah Cosulich, MUT, Mutina HQ, Fiorano, IT The Eighties: The Heritage of 1989 / Case Study: The Second Yugoslav Documents, a cura di/ curated by Zdenka Badovinac & Bojana Piškur, Museum of Modern Art, Ljubljana, SI

73 Everything we see could also be otherwise (My sweet little lamb), The Showroom, London, UK Delirious: Art at the Limits of Reason, , The Metropolitan Museum of Art, New York, US OSEMDESETA Dediščina Študijski primer: druga razstava Jugoslovanski dokumenti, Moderna Galerija Ljubljana, Ljubljana, SL My sweet little lamb (Everything we see could also be otherwise), HDLU - Croatian Association of Artists, Zagreb, HR Art of Appropriation, Forum Gallery, Zagreb, HR Affectionate Terms of Abuse & Archive in Words, Galerie Michaela Stock, Vienna, AT La fine del nuovo / The end of the new, a cura di/curated by Tuffolotti, Prsten Gallery, Zagreb, HR Low-Budget Utopias, Second Recycling, Museum of Contemporary Art Metelkova, Ljubljana, SI The end of the new, a cura di/curated by Paolo Toffolutti, P74 Gallery, Ljubljana, SI 2016 My sweet little lamb (Everything we see could also be otherwise), Galerija Nova, Zagreb, HR Modernità non allineata, artworks from the collection of Marinko Sudac, curated by Marco Scotini, FM Centro per l Arte Contemporanea, Milano, IT Low-Budget Utopias, First Recycling, Museum of Contemporary Art Metelkova, Ljubljana, SI Boris Cvjetanović, Goran Trbuljak: Scenes without significance and other, P74 Gallery, Ljubljana, SI Upside Down: Hosting the Critique, City Gallery Ljubljana, SI, and Museum of Contemporary Art Belgrade, RS 2015 Transmissions: Art in Eastern Europe and Latin America, , MoMA, New York, US Pula Film Festival: Cinemaniac 2015 Motovun Video Meeting 1976, MMC Luka, Pula, HR Grammar of Freedom / Five Lessons: Works from the Arteast Collection, Garage Museum of Contemporary Art, Moscow, RU Theatre of Operations. Phase I: Reconnaissance, TU Théâtre de l Usine, Geneva, CH Art Has No Alternative, (An Archive of Artists in Action), tranzit.sk, Bratislava, SK New Art For New Society, Wroclaw Contemporary Museum, Wroclaw, PL Inside Out - Not So White Cube, Mestna Galerija / City Art Gallery Ljubljana, Ljubljana, SI Thirty One, The Kosovo Art Gallery / Kosovska umetnička galerija, Pristina, XZ Shifters, Signalements en Ame?rique latine et en Europe de l Est, Gb agency, Paris, FR 2014 Coffee & Ink, Galeria Casas Riegner, Bogotà, CO Personal Cuts Art Scene in Zagreb from 1950s to now, Carré d art Musée d art contemporain de Nîmes, FR Permanent playfulness, Mendes Wood DM, São Paulo, BR Artevida: política [politics], curated by Adriano Pedrosa and Rodrigo Moura, Museu de Arte Moderna do Rio de Janeiro, BR Decades of Revolt, Kulturhuset Stadsteatern, Gallery 5, Stockholm, CH Report on the Construction of a Spaceship Module, New Museum of Contemporary Art, New York, US Proudly Presenting: Sammlung Generali Foundation, Museum der Moderne, Salzburg, AT Il Piedistallo vuoto. Fantasmi dall Est Europa, Museo Civico Archeologico, Bologna, IT

74 2013 Das Beste vom Besten. Vom riskanten Geschäft der Kunst, Kunstverein für die Rheinlande und Westfalen, Düsseldorf, DE... Was ist Kunst?... Resuming a Fragmented History, Künstlerhaus, Halle für Kunst & Medien, Graz, AT Das Blut an meinen Händen, Kunstverein Ludwigsburg, Ludwigsburg, DE; Kunstraum Morgenstrasse, Karlsruhe, DE Zero Point of Meaning, Kunsthaus, Graz, AT Traiectoria zborurilor, Bulevardul Expoziției 1F Project Space, Bucharest, Amazing! Clever! Linguistic! - An Adventure in Conceptual Art, Generali Foundation, Vienna, AT 2011 About Painting, Abc Art Berlin Contemporary, Berlin, DE A Complicated Relation, part I, Kalmar Konstmuseum, CH Images Projected Until It Vanishes, Museion, Bolzano, IT East by South West, Galerie Georg Kargl, Vienna, AT COCO (Contemporary Concerns), Curated by Ana Janevski, Kunstverein, Vienna, AT Arteast Collection / Selection of Works from the National Collection, Museum of Affects - Museum of Contemporary Art Metelkova, Ljubljana, SI The Other Museum, P74 Gallery, Ljubljana, SI Scenes from Zagreb: Artists, MoMA - Museum of Modern Art, New York, US Concretely Immaterial Part Hosted By Grey) (area, Croatia And Hica - Highland Institute of Contemporary Art, Dalcrombie, Inverness-shire, Scotland, UK Treasure of the Museum of Modern Art Dubrovnik-Croatian art from the end of the 19th century until the present day, Museum of Modern Art Dubrovnik, Dubrovnik, HR Museo de las narrativas paralelas. En el marco de La Internacional - Museu d Art Contemporani de Barcelona - MACBA, Barcelona, ES Volume Collection, MMSU - Museum of Modern and Contemporary Art Rijeka, Rijeka, HR 2010 You are kindly invited to attend, Aanant & Zoo Galerie, Berlin, DE The Promises of the Past. A discontinuous history of art in Eastern Europe,Curated by Christine Macel and Joanna Mytkowska, Pompidou Centre, Paris, FR Volume Collection, La Galleria di Piazza San Marco, Venezia, IT 2009 The Death of the Audience, curated by Pierre Bal-Blanc, Secession, Vienna, AT Making of Art, Schirn Kunsthalle, Frankfurt, DE 2008 Bit international. (Nove) Tendencije, ZKM, Karlsruhe, DE 2007 On Unknown Works, Skuc Gallery, Ljubljana, SI 2006 The Sun on the Wall steirischer herbst, Steirischer herbst, Graz, AU

75 ...und so hat Konzept noch nie Pferd bedeutet, Generali Foundation, Vienna, AT Living Art on the Edge of Europe, Kröller-Müller Museum, Otterlo, NL Trajectory 1, LCCA, Riga, LV Venture II, Galerija Gregor Podnar, Ljubljana, SI 2005 Museo Fortuny, Croatian Pavilion, 51st Venice Biennial, Venezia, IT Insert: Retrospective of Croatian Video Art, Museum of Contemporary Art, Zagreb, HR 2004 Beyond Geometry, Los Angeles County Museum, Los Angeles, US Kurze Karrieren, Museum Moderner Kunst, Vienna, AT 2003 By the way, Josip Račić Studio, Modern Gallery, Zagreb, HR 2001 Triennial New Delhi, IN 1999 Global Conceptualism Points of Origin 1950s -1980s, Queens Museum, New York, US 1995 Croatian Pavilion, 47th Venice Biennial, Venezia, IT XXV Annale: Prema minimalismom, Dom hrvatskih likovnih umjetnika, Zagreb, HR 1994 Exhibition of food and drinks, Galerija proširjenih medija, Zagreb, HR Words and Paintings, Museum of Contemporary Art, Zagreb, HR 1993 The Horse Who Sings, Museum of Contemporary Art, Sydney, AT Mjesto i sudbina, Art workshop Lazareti, Galerija Sesame, Dubrovnik, HR Šest hrvatskih umjetnika Umjetnost defanzive, neoegzistencijalizam, Galerija Zvonimir, Zagreb, HR Nova Hrvatska umjetnost, Moderna Galerija, Zagreb, HR A Casa / At Home, Campo s. Polo 1658, Calle dei Botteri, Venezia, IT 1989 Avant - Gardes Yugoslaves, Musée des Beaux-Arts, Carassonne, travelled to Musée de l Abbaye Sainte Croix, Les Sables dolonne and Musée des Beaux-Arts, Toulon, FR Jugoslavenska documenta 89, Olimpijski centar Skenderija, Galerija grada Sarajeva, Sarajevo, BA Simplon Express, Central train station, Paris, Gare de Lyon, Paris, Dijon, Lausanne, Milano, Venice, Zagreb, HR 1986 Art Critique in the middle eighties, Collegium Artisticum, Sarajevo, BA U susret, Museum of Contemporary Art, Museum of Contemporary Art, Zagreb, HR

76 1979 Values, Podroom, Zagreb, HR Inovacije u hrvatskoj umjetnosti sedamdesetih godina, Gallery of Contemporary Art, Zagreb,HR Internationale Jugendtriennale Meister der Zeichnung, Kunsthalle Nürnberg, Nuremberg, DE 1978 Za umjetnost u umu, Podroom, Zagreb, Croatia Moderne Kunst in Kroatien, Rathaus, Mainz, DE 1977 Galerija Nova, Zagreb, HR 1976 (Identitet = Identità), IV susreti u Motovunu, Motovun, HR Video International, Kunstmuseum, Aarhus, DK Works on paper, Galerija Doma omaldine, Belgrade, HR Video susreti jugoslavenskih i taljanskih umjetnika, Gallery of Contemporary Art, Zagreb, HR rd International Open Encounter on Video, Galleria Civica darte Moderna, Palazzo dei Diamanti, Ferrara, IT Kritičke dijagnoze, Umetnostni paviljon, Slovenj Gradec, SI Aspekte Gegenwärtige Kunst aus Jugoslawien, Akademie der Bildenden Künste, Vienna, AT Passeport, Aspects 75 Contemporary Yugoslav Art, The Richard Demarco Gallery, Edinburgh, UK 1974 Art Video Confrontation 74, Musée dart Moderne de la Ville de Paris, Paris, FR 1973 Tendencije 5 (t-5), Tehnički muzej, Galerija suvremene umjetnosti, Zagreb, HR 8eme Bienale de Paris, Musée dart Moderne de la Ville de Paris, Paris, FR Još jedna Prilika da budete umjetnik, Galerija studentskog centra, Zagreb, HR Poste Restante, (u organizaciji Galerie des Locataires), Dusseldorf, DE Trigon 73, Neue Galerie, Graz, AT Dokumenti o posobjektnim pojavama u jugoslavenskoj umetnosti , Salon of Museum of Contemporary Art, Belgrade, RS aprilski susreti, Galerija studentskog kulturnog centra, Belgrade, RS VII Internationale Malerwochen, Neue Galerie, Graz, AU French Window, Paris, FR 1971 I dont want to show anything new and original, Gallery of Student Centre, Zagreb, HR At the Moment, Space at Frankopanska 2a, Zagreb, HR In Another Moment, Gallery of Student Cultural Centre, Belgrade, RS Primeri konceptualne umetnosti u, Jugoslaviji Salon of Museum of Contemporary Art, Belgrade, RS Mogućnosti za, Gallery of Contemporary Art, Zagreb, HR 7eme, Biennial de Paris, Musée d Art Moderne, Paris, FR